How museums shape meaning
Culture can be defined as those social practices [or discourses] whose prime aim is signification, i.e. the production of sense or making orders of "sense" for the world we live in. Culture is the social level in which are produced those images of the world and definitions of reality which can be ideologically mobilized to legitimize the existing order of relations of domination and subordination between classes, races, and sexes.—Griselda Pollock, Vision and Difference: Feminity, Feminisism, and Histories of Art, New York: Routledge, Chapman & Hall, Inc., 1988, p. 20
The Rise of the Museum
To control a museum means precisely to control the representation of a community and its highest values and truths. It is also the power to define the relative standing of individuals within that community. Those who are best prepared to perform its ritual—those who are most able to respond to its various cues—are also those whose identities (social, sexual, racial, etc.) the museum ritual most fully confirms. It is precisely for this reason that museums and museum practices can become objects of fierce struggle and impassioned debate. What we see and do not see in art museums—and on what terms and by whose authority we do or do not see it—is closely linked to larger questions about who constitutes the community and who defines its identity [pp. 8-9].
It is a cure (for the time at least) for low-thoughted cares and uneasy passions. We are abstracted to another sphere: we breathe empyrean air; we enter into the minds of Raphael, of Titian, of Poussin, of the Caracci, and look at nature with their eyes; we live in time past, and seem identified with the permanent forms of things. The business of the world at large, and even its pleasures, appear like a vanity and an impertinence. What signify the hubbub, the shifting scenery, the fantoccini figures, the folly, the idle fashions without, when compared with the solitude, the silence, the speaking looks, the unfading forms within? Here is the mind's true home. The contemplation of truth and beauty is the proper object for which we were created, which calls forth the most intense desires of the soul, and of which it never tires [as quoted in Carol Duncan, Civilizing Rituals: Inside Public Art Museums, London, 1995, p. 15].